CAD, Pyramid Mountain, 2012
Erik Niedling with Ingo Niermann
10/18/1973—02/29/2012
Juni 24 till August 5, 2012
Opening Sat., June 23, 7 p.m.
On the occasion of the exhibition, Sternberg Press will publish
The Future of Art: A Diary,
256 pages, 146 b/w photos, with texts by Tom McCarthy, Erik Niedling, Ingo Niermann, and Amy Patton.
Neues Museum Weimar
Weimarplatz 5, Weimar, Germany
www.klassik-stiftung.de Neues Museum Weimar
10/18/1973—02/29/2012
Juni 24 till August 5, 2012
Opening Sat., June 23, 7 p.m.
On the occasion of the exhibition, Sternberg Press will publish
The Future of Art: A Diary,
256 pages, 146 b/w photos, with texts by Tom McCarthy, Erik Niedling, Ingo Niermann, and Amy Patton.
Neues Museum Weimar
Weimarplatz 5, Weimar, Germany
www.klassik-stiftung.de Neues Museum Weimar
Am 23. Juni 2012 eröffnete im Neuen Museum Weimar die Einzelausstellung 18.10.1973 – 29.02.2012, die den Entwurf von Erik Niedlings Grabkammer zeigt.
Zuvor präsentierten Niedling und Niermann ihren für den Pyramidenberg gewählten Standort, den kleinen Gleichberg in Thüringen, der aufgrund seiner keltischen Nutzung als Wehranlage auch Steinsburg genannt wird, und machen den ersten Spatenstich.
Der Künstler Erik Niedling möchte im größten Grab aller Zeiten bestattet werden, dem von dem Schriftsteller Ingo Niermann konzipierten Pyramidenberg. Hierfür wird eine mindestens 200 Meter hohe Pyramide aus einem Berg herausgeschlagen, um nach Niedlings Beisetzung mit dem Abraum die Pyramide wieder zu bedecken und die ursprüngliche Bergform herzustellen.
Erik Niedling - Ich mag
Erik Niedling with Ingo Niermann
10/18/1973—02/29/2012
Neues Museum Weimar
Juni 24 till August 5, 2012
Opening Sat., June 23, 7 p.m.
Erik Niedling with Ingo Niermann - The Future of Art: A Diary
Sternberg Press, Berlin / New York, 2012
With texts by Tom McCarthy, Erik Niedling, Ingo Niermann, and Amy Patton.
14 x 20 cm, 256 pages, 146 b/w ill., softcover
Der Künstler Erik Niedling möchte im größten Grab aller Zeiten bestattet werden, dem von dem Schriftsteller Ingo Niermann konzipierten Pyramidenberg. Hierfür wird eine mindestens 200 Meter hohe Pyramide aus einem Berg herausgeschlagen, um nach Niedlings Beisetzung mit dem Abraum die Pyramide wieder zu bedecken und die ursprüngliche Bergform herzustellen.
Am 23. Juni eröffnet im Neuen Museum Weimar die Einzelausstellung 18.10.1973 – 29.02.2012, die den Entwurf von Erik Niedlings Grabkammer zeigt. Zuvor präsentieren Niedling und Niermann ihren für den Pyramidenberg gewählten Standort, den kleinen Gleichberg in Thüringen, der aufgrund seiner keltischen Nutzung als Wehranlage auch Steinsburg genannt wird, und machen den ersten Spatenstich.
Der vorherrschende Natur- und Denkmalschutz lässt in seinem Versuch, Vergangenenes und Bedrohtes authentisch zu erhalten, wie König Midas immer größere Teile der Welt erstarren. Dagegen fordern Erik Niedling und Ingo Niermann, dass alles verändert werden darf, solange es nur wieder in den vorherigen Zustand zurückgeführt werden kann, und fragen: Hätte den Kelten der Pyramidenberg nicht auch gefallen?
…
13:20 h Shuttleservice vom Hbf Erfurt (nur mit Voranmeldung)
14:30 h Besteigung des kleinens Gleichbergs (650 ü. NN)
15:30 h Erster Spatenstich und Imbiss auf dem Gipfel des Gleichbergs mit Erik Niedling und Ingo Niermann
16:30 h Abstieg und Shuttleservice nach Weimar
19:00 h Eröffnung der Ausstellung 18.10.1973 – 29.02.2012 im Neuen Museum Weimar mit anschl. Feier (Free Drinks)
Erik Niedling with Ingo Niermann, The Future of Art: A Diary (Trailer)
Average life expectancy can fool you into thinking you still have many years ahead. But what would it be like if you had only one left? What would you want to—what could you—experience in this limited period of time?
Artist Erik Niedling would like to be buried in Pyramid Mountain, the largest tomb of all time, conceived by writer Ingo Niermann. To make this goal a reality, Niedling lives one year as though it were his last. The Future of Art: A Diary recounts the joys and horrors of that year. A letter by Tom McCarthy examines the social and philosophical implications.
Erik Niedling with Ingo Niermann - The Future of Art: A Diary
Sternberg Press, Berlin / New York, 2012
With texts by Tom McCarthy, Erik Niedling, Ingo Niermann, and Amy Patton.
14 x 20 cm, 256 pages, 146 b/w ill., softcover
Berlin-based author Ingo Niermann deals with the subject matter called “drill.” In this notebook, he proclaims the self-determined drill as a new societal doctrine and gives practical instructions. After an era of opening and transgressing borders, drill could be the next step: the freedom to coerce oneself. For this purpose, the reader can participate in actions proposed by the author, such as “Join the U.S. Army,” where non-Americans can offer their services to the U.S. Army; or could decide to live a year as if it were the last. The culmination is the Drill Palace, modeled on Cedric Price’s unrealized Fun Palace, where you participate in drills, develop drills, or witness them as a spectator.
Ingo Niermann
Choose Drill
Introduction by Chus Martínez, texts by Ingo Niermann
2011. 44 pp., 5 ills., German / English
Exhibition Poster
Photo: Tom Plawecki.
Production: Timo Feldhaus.
Erik Niedling with Ingo Niermann
10/18/1973—02/29/2012
Opening Sat., June 23, 7 p.m., followed by a party.
256 pages, 146 b/w photos, with texts by Tom McCarthy, Erik Niedling, Ingo Niermann, and Amy Patton.
“Death usually comes uninvited, but Erik Niedling went looking for it – and survived.”
Kito Nedo, frieze d/e
“A kind of Atkins diet for the soul.”
Tom McCarthy, author of Remainder and C
What would it be like to only have one year left to live? Without suffering from any illness, with no hope of even one more hour? The assumption that there is only one year left can snap you out of a delusive sense of security. At the same time, unlike the Seneca-inspired maxim to “live each day as though it were your last,” it allows time for a number of major endeavors. What would you want to—what could you—experience in this limited period of time? What objectives lie ahead of you? What remains out of reach?
Following a drill devised by Ingo Niermann, artist Erik Niedling lived one year—from March 1, 2011 to February 29, 2012—as though it were his last. Refraining from his previous artistic work as a photographer and archivist of material built, planted, and photographed by others, he wholly dedicated himself to his own life—which commenced on October 18, 1973—and its relics. Particular attention was paid to a night in the late 1990s, in which the physical and psychological excesses he experienced with a group of friends in his hometown of Erfurt culminated in Niedling’s decision to become an artist.Conceived over the course of the Last Year, the exhibition “10/18/1973—02/29/2012“ shows the design for Niedling’s burial chamber, which is based on the floor plan of the Neues Museum Weimar. A tour of the outer galleries reveals various phases of his life and work from birth onwards. Like Niedling’s previous works, his Last Year deals with the notion of vanishing—this time, his own disappearance and that of his work. In doing so, Niedling experiences himself not as a victim of evolution, but rather as an “owner” in the Stirnerian sense of the word, one who playfully rehearses his own demise and retains control over his work even after his death.
Erik Niedling “Mein letztes Jahr” Galerie Tobias Naehring, Leipzig.
Frieze d/e Ausgabe 4
